Axel Einar Hjorth Ottomans and Poufs

Swedish furniture designer Axel Einar Hjorth created tables, chairs, cabinets and other pieces that were as elegant as they were functional, and he frequently worked in references to a litany of inspirations including French Art Deco, Gustavian style and modernism. Ahead of his time, his style was refined and daringly simple.

Born in Krokek, Sweden, Hjorth grew up in a foster family and at 20 moved to Stockholm where he studied architecture and design at the Högre Konstindustriella Skolan (now the University of Arts, Crafts & Design). Although he dropped out when his foster father died, he went on to work for some of the largest furniture manufacturers in Sweden during the 1920s. 

Hjorth’s work was featured in the 1923 Gothenburg Exhibition world’s fair, and he exhibited a birch and cherry cabinet in the 1927 “Swedish Contemporary Decorative Arts” exhibition at the Metropolitan Museum of Art in New York. His role as the head of the furniture department at Nordiska Kompaniet (NK), an upscale department store in Stockholm, from 1927 to 1938, further brought his designs to widespread acclaim, including pieces exhibited at the 1929 Barcelona International Exposition.

At the 1930 Stockholm Exhibition, an influential event in the emergence of functionalism in Swedish design, Hjorth exhibited a dozen room settings that featured examples of sportstugemöbler. These furniture lines were named for islands in Sweden’s archipelago — Utö, Blidö and Torö — with designs intended for cabins and vacation homes. The use of solid Swedish pine in these pieces revealed a love of traditional rustic furniture while the simple forms boldly looked to the future. He also brought his eclectic influences to armchairs formed from tubular metal, blocky case pieces made from birch and upholstered sofas with neoclassical details, each exuberantly mixing form and function.

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